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In common usage, existence is the world of which we are aware through our senses, but in philosophy the word has a more specialized meaning, and is often contrasted with essence. Philosophers investigate questions such as "What exists?" "How do we know?" "To what extent are the senses a reliable guide to existence?" "What is the meaning, if any, of assertions of the existence of categories, ideas, and abstractions."
The word "existence" comes from the Latin word 'existere', meaning to appear or emerge or stand out.
The word 'exist' is certainly a grammatical predicate, but philosophers have long disputed whether it is also a logical predicate. Some philosophers claim that it predicates something, and has the same meaning as 'is real', 'has being', 'is found in reality', 'is in the real world' and so on. Other philosophers deny that existence is logically a predicate, and claim that it is merely what is asserted by the etymologically distinct verb 'is', and that all statements containing the predicate 'exists' can be reduced to statements that do not use this predicate. For example, 'A Four-leaved clover exists.' can be rephrased as 'There is a clover with four leaves.'
An open source photo gallery which aims to offer you some of our best takes – Use this photos for personal or commercial purposes, attribution is appreciated but not required – Here you go – Njoy!
Lucy: Humans consider themselves unique, so they rooted their whole theory of existence on their uniqueness.
in Luc Besson movie: Lucy
Strandfontein Sewage Works
Although the uninitiated will often turn up their noses at the idea of voluntarily visiting a sewage farm, such places are often exceptionally rich in birdlife. This is especially true of the extensive Strandfontein sewage works, arguably the best waterbird locality close to Cape Town, whose existence is under threat from a new motorway. The abundant and diverse birdlife makes it an ideal destination for the beginner and serious twitcher alike, and it is possible to see more than 80 species on a summer morning. A major advantage is the opportunity to bird from the comfort and security of your car, which can be used as a moving hide. The vast network of reed-fringed pans which radiate out from the sewage plant buildings is connected by good gravel roads, but beware of occasionally treacherous sandy patches, especially along the southern coastal road.
To enter the Strandfontein sewage works from the Cape Town side, take the M5 free-way southwards from Cape Town and turn left into Ottery Road at the Ottery turn-off; continue for 4.5 km until the junction with Strandfontein Road (M17); turn right here, and continue (southwards) along Strandfontein Road for 4 km; turn right again at the ‘Zeekoeivlei’ sign (1 on site map, opposite) within a stand of gum trees just after a petrol station and opposite Fifteenth Avenue. To enter the works from the False Bay side, turn north onto Strandfontein Road from Baden Powell Drive, 6.8 km east of the Muizenberg traffic circle, and you’ll reach the Zeekoeivlei turn-off after 4.1 km.
Baden Powell Drive (R310) follows the False Bay coast westwards to Muizenberg and Simon’s Town, and eastwards to the N2 highway near Somerset West. Strandfontein can thus conveniently be visited after Sir Lowry’s Pass (p.60).
The poorly marked entrance to the works is adjacent to a derelict building at the south end of Zeekoeivlei (2), where African Fish Eagles are often seen roosting in the trees to the west. Bird numbers and water levels at Strandfontein vary widely depending on the year and season, and the route suggested below is intended as a general guide to the most productive areas.
Continue along the tar road towards the plant buildings, and check the deep pans on both sides of the road (3 and 4) for Black-necked Grebe, Maccoa Duck, Southern Pochard, and Cape Teal. Here too you will see the first of various other waterfowl species that are common throughout the sewage works, such as Cape Shoveller, Yellow-billed Duck and Red-billed Teal, while Purple Gallinule stalk along the reed-lined edges. Levaillant’s Cisticola is very common in long grass fringing the pans, and agitated birds draw attention to themselves with their characteristically frenetic calls. White-throated and European Swallows (summer) and Brown-throated Martin dart low overhead.
Where the road meets the sewage plant itself, continue to the left of the buildings, and scan pan 5 for a good variety of waterfowl. The adjacent small, muddy pan at 6 often host somewhat scarcer species such as Southern Pochard and Wood Sandpiper. The road between the two pans is regularly used in summer as a roost by large numbers of White-winged Terns, which can be seen flying over pans throughout the area.
At this point, retrace your route and continue to the pan at 7. This pan, and the small, reed-enclosed pond at its northern end, are usually also productive. At the ‘hub’ of the wheel of large pans, turn left. Pan 8, on your right, invariably holds good numbers of birds, notably Black-necked Grebe, White Pelican, Greater Flamingo and Maccoa Duck.
The western and northern corners of pan 9 are always worth investigating. The former often has an exposed beach frequented by waders (including Avocet); the latter is good for scarcer ducks such as Cape Teal and South African Shelduck, and occasionally Hottentot Teal. Continue around the northern apex of pan 9 and head south past pan 0. The reeds in this vicinity are particularly good for African Sedge Warbler, Cape Reed Warbler and, in summer, African Marsh Warbler. Very much more evident in the alien thicket are Cape Francolin and Cape Bulbul. Pan 0 itself usually offers great birding, providing a good selection of waterfowl and wading birds in its northern reaches.
Options are now limited by sandy roads, so we suggest that you retrace your route and turn left along the southern border of pan 9. This is an especially good area for African Marsh Harrier, which is virtually guaranteed to be seen flying low over the alien thicket and adjacent reedbeds. Head south again, and cast a glance over pan A for African Black Oystercatcher. Turn right where the road meets the coastal dunes, where Swift and Sandwich Terns and Little Stint (summer) often roost. Spare a moment to look up from your telescope and enjoy the splendid view over False Bay and its embracing mountains!
Good numbers of waterbirds can reliably be found on pan B. Cape and White-breasted Cormorants, White Pelicans and miscellaneous waterfowl roost on the large, sandy island and on the pan edge (C on map), while rafts of assorted ducks bob on the usually choppy water. A pair of South African Shelduck often frequents this pan, as do flocks of Greater Flamingo.
Having absorbed all pan B has to offer, continue past a series of relatively unexceptional pans before re-entering the central wheel at E. The small pan at D is often productive, as is E. Before leaving, you might find it worthwhile to check pan F for Great Crested Grebe.
Dashur South. Pirámide romboidal de Snofru. Dinastía III. Detalle de la derruida esquina nor este
From Wikipedia, the free encyclopedia
A view of the pyramids at Giza from the plateau to the south of the complex. From left to right, the three largest are: the Pyramid of Menkaure, the Pyramid of Khafre and the Great Pyramid of Khufu. The three smaller pyramids in the foreground are subsidiary structures associated with Menkaure's pyramid.
U23 G17
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Unicode:
Pyramid
in hieroglyphs
A view of the Pyramid of Khafre from the Sphinx.
The Egyptian pyramids are ancient pyramid-shaped masonry structures located in Egypt.
As of November 2008, sources cite either 118 or 138 as the number of identified Egyptian pyramids.[1][2] Most were built as tombs for the country's pharaohs and their consorts during the Old and Middle Kingdom periods.[3][4][5]
The earliest known Egyptian pyramids are found at Saqqara, northwest of Memphis. The earliest among these is the Pyramid of Djoser (constructed 2630 BC–2611 BC) which was built during the third dynasty. This pyramid and its surrounding complex were designed by the architect Imhotep, and are generally considered to be the world's oldest monumental structures constructed of dressed masonry.[6]
The most famous Egyptian pyramids are those found at Giza, on the outskirts of Cairo. Several of the Giza pyramids are counted among the largest structures ever built.[7] The Pyramid of Khufu at Giza is the largest Egyptian pyramid. It is the only one of the Seven Wonders of the Ancient World still in existence.
Contents
1 Historical development
2 Pyramid symbolism
3 Number and location of pyramids
3.1 Abu Rawash
3.2 Giza
3.3 Zawyet el-Aryan
3.4 Abu Sir
3.5 Saqqara
3.6 Dahshur
3.7 Mazghuna
3.8 Lisht
3.9 Meidum
3.10 Hawara
3.11 el-Lahun
3.12 El-Kurru
3.13 Nuri
3.14 Construction dates
4 Construction techniques
5 See also
6 References
7 Bibliography
8 External links
Historical development
The Mastabat al-Fir’aun at Saqqara
By the time of the Early Dynastic Period, those with sufficient means were buried in bench-like structures known as mastabas.[8][9]
The second historically-documented Egyptian pyramid is attributed to the architect Imhotep, who planned what Egyptologists believe to be a tomb for the pharaoh Djoser. Imhotep is credited with being the first to conceive the notion of stacking mastabas on top of each other, creating an edifice composed of a number of "steps" that decreased in size towards its apex. The result was the Pyramid of Djoser, which was designed to serve as a gigantic stairway by which the soul of the deceased pharaoh could ascend to the heavens. Such was the importance of Imhotep's achievement that he was deified by later Egyptians.[10]
The most prolific pyramid-building phase coincided with the greatest degree of absolutist rule. It was during this time that the most famous pyramids, the Giza pyramid complex, were built. Over time, as authority became less centralized, the ability and willingness to harness the resources required for construction on a massive scale decreased, and later pyramids were smaller, less well-built and often hastily constructed.
Long after the end of Egypt's own pyramid-building period, a burst of pyramid-building occurred in what is present-day Sudan, after much of Egypt came under the rule of the kings of Napata. While Napatan rule was brief, ending in 661 BC, Egyptian culture made an indelible impression, and during the later Kingdom of Meroë (approximately in the period between 300 BCE – 300 CE), this flowered into a full-blown pyramid-building revival, which saw more than two hundred Egyptian-inspired indigenous royal pyramid-tombs constructed in the vicinity of the kingdom's capital cities.
Al-Aziz Uthman (1171–1198) tried to destroy the Giza pyramid complex. He gave up after damaging the Pyramid of Menkaure because the task proved too huge.[11]
Pyramid symbolism
Diagram of the interior structures of the Great Pyramid. The inner line indicates the pyramid's present profile, the outer line indicates the original profile.
The shape of Egyptian pyramids is thought to represent the primordial mound from which the Egyptians believed the earth was created. The shape of a pyramid is thought to be representative of the descending rays of the sun, and most pyramids were faced with polished, highly reflective white limestone, in order to give them a brilliant appearance when viewed from a distance. Pyramids were often also named in ways that referred to solar luminescence. For example, the formal name of the Bent Pyramid at Dahshur was The Southern Shining Pyramid, and that of Senwosret at el-Lahun was Senwosret is Shining.
While it is generally agreed that pyramids were burial monuments, there is continued disagreement on the particular theological principles that might have given rise to them. One suggestion is that they were designed as a type of "resurrection machine."[12]
The Egyptians believed the dark area of the night sky around which the stars appear to revolve was the physical gateway into the heavens. One of the narrow shafts that extend from the main burial chamber through the entire body of the Great Pyramid points directly towards the center of this part of the sky. This suggests the pyramid may have been designed to serve as a means to magically launch the deceased pharaoh's soul directly into the abode of the gods.[12]
All Egyptian pyramids were built on the west bank of the Nile, which, as the site of the setting sun, was associated with the realm of the dead in Egyptian mythology.[13]
Number and location of pyramids
In 1842, Karl Richard Lepsius produced the first modern list of pyramids – see Lepsius list of pyramids – in which he counted 67. A great many more have since been discovered. As of November 2008, 118 Egyptian pyramids have been identified.[3]
The location of Pyramid 29, which Lepsius called the "Headless Pyramid", was lost for a second time when the structure was buried by desert sands subsequent to Lepsius' survey. It was found again only during an archaeological dig conducted in 2008.[14]
Many pyramids are in a poor state of preservation or buried by desert sands. If visible at all, they may appear as little more than mounds of rubble. As a consequence, archaeologists are continuing to identify and study previously unknown pyramid structures.
The most recent pyramid to be discovered was that of Sesheshet at Saqqara, mother of the Sixth Dynasty pharaoh Teti. The discovery was announced by Zahi Hawass, Secretary General of the Egyptian Supreme Council of Antiquities, on 11 November 2008.[4][15]
All of Egypt's pyramids, except the small Third Dynasty pyramid of Zawyet el-Amwat (or Zawyet el-Mayitin), are sited on the west bank of the Nile, and most are grouped together in a number of pyramid fields. The most important of these are listed geographically, from north to south, below.
Abu Rawash
Main article: Abu Rawash
The largely destroyed Pyramid of Djedefre
Abu Rawash is the site of Egypt's most northerly pyramid (other than the ruins of Lepsius pyramid number one)[5]— the mostly ruined Pyramid of Djedefre, son and successor of Khufu. Originally it was thought that this pyramid had never been completed, but the current archaeological consensus is that not only was it completed, but that it was originally about the same size as the Pyramid of Menkaure, which would have placed it among the half-dozen or so largest pyramids in Egypt.
Its location adjacent to a major crossroads made it an easy source of stone. Quarrying – which began in Roman times – has left little apart from about 15 courses of stone superimposed upon the natural hillock that formed part of the pyramid's core. A small adjacent satellite pyramid is in a better state of preservation.
Giza
Main article: Giza pyramid complex
Map of Giza pyramid complex.
Aerial view of Giza pyramid complex
Giza is the location of the Pyramid of Khufu (also known as the "Great Pyramid" and the "Pyramid of Cheops"); the somewhat smaller Pyramid of Khafre (or Kephren); the relatively modest-sized Pyramid of Menkaure (or Mykerinus), along with a number of smaller satellite edifices known as "Queen's pyramids"; and the Great Sphinx of Giza.
Of the three, only Khafre's pyramid retains part of its original polished limestone casing, near its apex. This pyramid appears larger than the adjacent Khufu pyramid by virtue of its more elevated location, and the steeper angle of inclination of its construction – it is, in fact, smaller in both height and volume.
The Giza pyramid complex has been a popular tourist destination since antiquity, and was popularized in Hellenistic times when the Great Pyramid was listed by Antipater of Sidon as one of the Seven Wonders of the Ancient World. Today it is the only one of those wonders still in existence.
Zawyet el-Aryan
See also: Zawyet el'Aryan
This site, halfway between Giza and Abu Sir, is the location for two unfinished Old Kingdom pyramids. The northern structure's owner is believed to be pharaoh Nebka, while the southern structure, known as the Layer Pyramid, may be attributable to the Third Dynasty pharaoh Khaba, a close successor of Sekhemkhet. If this attribution is correct, Khaba's short reign could explain the seemingly unfinished state of this step pyramid. Today it stands around 17 m (56 ft) high; had it been completed, it is likely to have exceeded 40 m (130 ft).
Abu Sir
Main article: Abusir
The Pyramid of Sahure at Abu Sir, viewed from the pyramid's causeway.
There are a total of fourteen pyramids at this site, which served as the main royal necropolis during the Fifth Dynasty. The quality of construction of the Abu Sir pyramids is inferior to those of the Fourth Dynasty – perhaps signaling a decrease in royal power or a less vibrant economy. They are smaller than their predecessors, and are built of low-quality local limestone.
The three major pyramids are those of Niuserre, which is also the best preserved, Neferirkare Kakai and Sahure. The site is also home to the incomplete Pyramid of Neferefre. Most of the major pyramids at Abu Sir were built similar construction techniques, comprising a rubble core surrounded by steps of mud bricks with a limestone outer casing. The largest of these 5th-Dynasty pyramids, the Pyramid of Neferirkare Kakai, is believed to have been built originally as a step pyramid some 70 m (230 ft) high and then later transformed into a "true" pyramid by having its steps filled in with loose masonry.
Saqqara
Main article: Saqqara
The Pyramid of Djoser
Major pyramids located here include the Pyramid of Djoser – generally identified as the world's oldest substantial monumental structure to be built of dressed stone – the Pyramid of Userkaf, the Pyramid of Teti and the Pyramid of Merikare, dating to the First Intermediate Period of Egypt. Also at Saqqara is the Pyramid of Unas, which retains a pyramid causeway that is one of the best-preserved in Egypt. Together with the pyramid of Userkaf, this pyramid was the subject of one of the earliest known restoration attempts, conducted by Khaemweset, a son of Ramesses II.[16] Saqqara is also the location of the incomplete step pyramid of Djoser's successor Sekhemkhet known as the Buried Pyramid. Archaeologists believe that had this pyramid been completed, it would have been larger than Djoser's.
South of the main pyramid field at Saqqara is a second collection of later, smaller pyramids, including those of Pepi I, Isesi, Merenre, Pepi II and Ibi. Most of these are in a poor state of preservation.
The Fourth Dynasty pharaoh Shepseskaf either did not share an interest in, or have the capacity to undertake pyramid construction like his predecessors. His tomb, which is also sited at south Saqqara, was instead built as an unusually large mastaba and offering temple complex. It is commonly known as the Mastabat al-Fir’aun.[17]
A previously unknown pyramid was discovered at north Saqqara in late 2008. Believed to be the tomb of Teti's mother, it currently stands approximately 5 m (16 ft) high, although the original height was closer to 14 m (46 ft).
Dahshur
Main article: Dahshur
Sneferu's Red Pyramid
This area is arguably the most important pyramid field in Egypt outside Giza and Saqqara, although until 1996 the site was inaccessible due to its location within a military base, and was relatively unknown outside archaeological circles.
The southern Pyramid of Sneferu, commonly known as the Bent Pyramid, is believed to be the first Egyptian pyramid intended by its builders to be a "true" smooth-sided pyramid from the outset; the earlier pyramid at Meidum had smooth sides in its finished state – but it was conceived and built as a step pyramid, before having its steps filled in and concealed beneath a smooth outer casing of dressed stone.
As a true smooth-sided structure, the Bent Pyramid was only a partial success – albeit a unique, visually imposing one; it is also the only major Egyptian pyramid to retain a significant proportion of its original smooth outer limestone casing intact. As such it serves as the best contemporary example of how the ancient Egyptians intended their pyramids to look.
Several kilometeres to the north of the Bent Pyramid is the last – and most successful – of the three pyramids constructed during the reign of Sneferu; the Red Pyramid is the world's first successfully completed smooth-sided pyramid. The structure is also the third largest pyramid in Egypt – after the pyramids of Khufu and Khafra at Giza.
Also at Dahshur is the pyramid known as the Pyramid of Amenemhat III, as well as a number of small, mostly ruined subsidiary pyramids.
Mazghuna
Main article: Mazghuna
Located to the south of Dahshur, several mudbrick pyramids were built in this area in the late Middle Kingdom, perhaps for Amenemhat IV and Sobekneferu.
Lisht
Main article: el-Lisht
The pyramid of Amenemhet I at Lisht
Two major pyramids are known to have been built at Lisht – those of Amenemhat I and his son, Senusret I. The latter is surrounded by the ruins of ten smaller subsidiary pyramids. One of these subsidiary pyramids is known to be that of Amenemhat's cousin, Khaba II.[18] The site which is in the vicinity of the oasis of the Faiyum, midway between Dahshur and Meidum, and about 100 kilometres south of Cairo, is believed to be in the vicinity of the ancient city of Itjtawy (the precise location of which remains unknown), which served as the capital of Egypt during the Twelfth Dynasty.
Meidum
Main article: Meidum
The pyramid at Meidum
The pyramid at Meidum is one of three constructed during the reign of Sneferu, and is believed by some to have been started by that pharaoh's father and predecessor, Huni. However, that attribution is uncertain, as no record of Huni's name has been found at the site.
It was constructed as a step pyramid, and then later converted into the first "true" smooth-sided pyramid when the steps were filled in, and an outer casing added.
The pyramid suffered several catastrophic collapses in ancient and medieval times; medieval Arab writers described it as having seven steps – although today only the three uppermost of these remain, giving the structure its odd, tower-like appearance. The hill on which the pyramid is situated is not a natural landscape feature – it is the small mountain of debris created when the lower courses and outer casing of the pyramid gave way.
Hawara
Main article: Hawara
The Pyramid of Amenemhet III at Hawarra
Amenemhat III was the last powerful ruler of the Twelfth Dynasty, and the pyramid he built at Hawarra, near the Faiyum, is believed to post-date the so-called "Black Pyramid" built by the same ruler at Dahshur. It is the Hawarra pyramid that is believed to have been Amenemhet's final resting place.
el-Lahun
Main article: el-Lahun
The Pyramid of Senusret II. The pyramid's natural limestone core is clearly visible as the yellow stratum at its base.
The pyramid of Senusret II at el-Lahun is the southernmost royal-tomb pyramid structure in Egypt. Its builders reduced the amount of work necessary to construct it by ingeniously using as its foundation and core a 12-meter-high natural limestone hill.
El-Kurru
Main article: El-Kurru
Pharaoh Piye's pyramid at El-Kurru
Piye, the first ruler of the Egyptian 25th dynasty, built a pyramid at El-Kurru. He was the first Egyptian pharaoh to be buried in a pyramid in centuries.
Nuri
Main article: Nuri
Egyptian Pharaoh Taharqa's pyramid at Nuri
Taharqa, a legitimate ruler and Pharaoh of Egypt, built his pyramid at Nuri. It was the largest in the area (North Sudan).
Construction dates
Drawing showing transportation of a colossus. The water poured in the path of the sledge, long dismissed by Egyptologists as ritual, but now confirmed as feasible, served to increase the stiffness of the sand, and likely reduced by 50% the force needed to move the statue.[19]
The following table lays out the chronology of the construction of most of the major pyramids mentioned here. Each pyramid is identified through the pharaoh who ordered it built, his approximate reign, and its location.
Pyramid / Pharaoh Reign Field
Djoser c. 2670 BC Saqqara
Sneferu c. 2612–2589 BC Dashur
Sneferu c. 2612–2589 BC Meidum
Khufu c. 2589–2566 BC Giza
Djedefre c. 2566–2558 BC Abu Rawash
Khafre c. 2558–2532 BC Giza
Menkaure c. 2532–2504 BC Giza
Userkaf c. 2494–2487 BC Saqqara
Sahure c. 2487–2477 BC Abu Sir
Neferirkare Kakai c. 2477–2467 BC Abu Sir
Nyuserre Ini c. 2416–2392 BC Abu Sir
Amenemhat I c. 1991–1962 BC Lisht
Senusret I c. 1971–1926 BC Lisht
Senusret II c. 1897–1878 BC el-Lahun
Amenemhat III c. 1860–1814 BC Hawara
Khendjer c. 1764–1759 BC Saqqara
Piye c. 721 BC El-Kurru
Taharqa c. 664 BC Nuri
Construction techniques
Main article: Egyptian pyramid construction techniques
Constructing the pyramids involved moving huge quantities of stone. The quarried blocks were likely transported to the construction site by wooden sleds, with sand in front of the sled wetted to reduce friction. Droplets of water created bridges between the grains of sand, helping them stick together.[20]
Sometimes all it takes is being alone in a field of grass with nature all around to make you feel at peace. We often find our lives consumed with the hustle of daily life and it takes a trip to our happy place to find our center. I don't have to pack too long or travel too far to find my reason for being. My backyard is a wonderland of mystery just waiting to be explored. I may never be anything more than someone you once knew. My only hope is that a piece of me remains to be explored long after I am gone.
I often wonder why I have been placed on this earth. Is it to carry a gun so that you can feel safe and free? I have done that. Is it to change an infinite number of watch batteries so that you can make it to work on time? I have done that too. Or is it to simply capture a moment so that you can experience something you may never see from a side of the planet I have never been? In time the gun will be replaced with something more advanced and the watch battery will be long since expired. My ticket will have been punched, but I hope the life I lived will remain for others to experience for eternity. That is the power of a camera!!!
I find myslef sitting in the same place i was a year ago and remembering Sakura (to the new members that did not know her she was also a flickr member) who passed away almost the same time last year.
_______________________________________________________________________
"Existence" is strange.. we are here then we are not. Makes me think about things that matter family & friends... People in general and how we treat one another. If I die today what impression have i left on this world? on people? We never know when we will travel to the "other side".. (if you believe in it).
There is a quote that goes something like.. "never leave anything you could say today for tomorow." i cant remember for the life of me where i got it from but i know its from somewhere. And never leave something you could do today for tomorow...
im just thinking and remembering.. *sigh*
Description on front of card: Mill Pond and Fish Hatchery, Blue Hole, Castalia, Ohio
Description on back of card:
CASTALIA BLUE HOLE
Discovered by Robert Rogers, 1760, the most extraordinary Spring in existence. Unknown depth, visible depth 45 feet, and 75 feet in diameter, source of water underground river. Temperature 48 degrees winter and summer. It never freezes and is not affected by floods or drouth [sic]. Discharges 5,000 gallons of water every minute. Fish can not live in the Blue Hole, as it is absolutely free from air or food. The water is blue in color and extremely clear and supplies water for a brook trout fishing club.
No. in Series: 31
Estimated Date: 1930-1940s
Era: Linen Era
Condition: Unused. Damage on the back.
Publisher: E.B. Ackley, Sandusky, Ohio; Genuine Curteich-Chicago "C.T. Art-Colortone" postcard, a tradename under Curt Teich Co., Chicago, Illinois
Publisher/Distributor Notes:
Eugene B. Ackley (1871-1957) was a popular musician and bandleader in Sandusky, Ohio. Born into a musical family in Illinois, Ackley took up the cornet at 12 becoming one of the best B-flat cornetists in the country. This allowed him to travel the country with different groups. He arrived in Sandusky at age 22 and worked as the director of music at the Cedar Point amusement park and as the instructor of the Sandusky Band and Orchestra. In 1902, he wrote the "Cedar Point March," the first song dedicated to the park.
Other than music, Ackley also ran a successful billiard parlor, published postcards, and served as the chairman of the board of the Western Security Bank.
The photos and images were created by E.B. Ackley, but the cards were printed en masse by the Curt Teich Company in Chicago, Ill., under the trade name, "C.T. Art-Colortone."
Curt Teich emigrated to Chicago in 1895. He had worked as a lithographer in Lobenstein, Germany.
He founded the Curt Teich Company in 1898, concentrating on newspaper and magazine printing. He was an early publisher of postcards, but he didn't begin printing them himself until 1908.
According to MetroPostcard.com, "As his competition dwindled, his sales expanded and his American factories would eventually turn out more postcards than any other in the United States. "
The company was best known for its wide range of advertising and postcards of North America. By the 1920s, it was producing so many postcards with borders that they became recognized as a type dubbed "White Border Cards," creating an "era."
Curt Teich started using offset presses in 1907, but it took a number of years before he had offset presses made to his satisfaction and many more years for him to perfect the method.
His innovations in this printing technique directly led to the production of what we now call "linens" by the early 1930s.
The company aided the war effort during the second world war by also printing many military maps.
Curt Teich eventually turned management of the company over to his son, but he remained active in company operations throughout its history.
Curt Teich died in 1974 and the family business was sold to Regensteiner Publishers who continued to print postcards at the Chicago plant until 1978 when the rights to the company name and processes were sold to the Irish company, John Hinde Ltd. Their California subsidiary now prints postcards under the name John Hinde Curteich, Inc.
Source:
Early Conlangs and Universal Languages: From Ancient Greece to 20th-Century America
Conlangs did not come into existence with Zamenhof’s Esperanto, Okrand’s Klingon and Tolkien’s Elvish. Language creation has been around since the first humans began connecting the sounds they uttered to things in the real world. The relationship between words and their meanings has been analyzed by philosophers for ages. Numerous authors long before Tolkien added constructed languages to their works to provide verisimilitude to their imaginary worlds. Many people have theorized and even created languages to be used as international, neutral forms of communication including Volapük, Interlingua, Ido, Latino sine Flexione, Novial, Occidental, and many more. These are the founders, philosophers, writers, and visionaries who laid the groundwork for the conlangers of today.
An Historical Timeline from Plato to Swift
360 B.C.E.
Plato
Cratylus
early 3rd century C.E.
Athenaeus of Naucratis
The Deipnosophists (Banquet of the Philosophers)
12th century
Hildegard of Bingen
“Lingua Ignota”
1516
Sir Thomas More
De Optimo Reipublicae Statu deque Nova Insula Utopia
(More's work, commonly referred to simply as Utopia, includes information on the Utopian language)
1532
François Rabelais
Gargantua and Pantagruel
1580s
Dr. John Dee & Edward Kelly
Diaries
(Edward Kelly would enter trance states and receive messages from the Angels in their language, Enochian. Dr. John Dee faithfully transcribed all that Kelly would relate.)
1622
Paul Guldin
Problema aritmeticum de rerum combinationibus
(calculated the number of possible locutions generated by 23 letters)
1629
Marin Mersenne
Harmonie universelle
(wherein Mersenne considers the idea of a universal language)
1629
René Descartes
Letter to Marin Mersenne
(expressed a critical opinion of a universal language submitted anonymously to Mersenne; Descartes advocated a universal language built on philosophical principles)
1638
Francis Godwin
The man in the moone or A discourse of a voyage thither by Domingo Gonsales
(the first English science fiction; describes the “musical” Lunar language)
1647
Francis Lodwick
A common writing: whereby two, although not understanding one the others language, yet by the helpe thereof, may communicate their minds one to another
(the first universal language scheme to be published)
1652
Sir Thomas Urquhart
Ekskubalauron, or the Discovery of A most exquisite Jewel, more precious then Diamonds inchased in Gold, the like whereof was never seen in any age ...
(includes Urquhart's "Introduction to the Universal Language")
1657
Cave Beck
The universal character: by which all the nations in the world may understand one anothers conceptions, reading out of one common writing their own mother tongues.
(Beck's universal language and script were based primarily on the use of numbers)
1659
Dr. Meric Casaubon
True and Faithful Relation of What Passed for Many Yeers between Dr. John Dee and Some Spirits
(Enochian)
1661
George Dalgarno
Ars signorum
(Dalgarno can be credited with devising the first universal language based on a systematic categorization of reality, from animals, humans, and plants to thoughts, feelings, and beyond. This idea would be refined further by John Wilkins in 1668)
1663
Athanasius Kircher
Polygraphia nova et universalis
(Kircher's language failed to catch on as a universal language, but was a pioneering work in cryptography)
1676
Gabriel de Foigny
La Terre Australe Connue
1677
Denis Vairasse d'Alais
Les Sévarambes
1668
John Wilkins
(brother-in-law of Oliver Cromwell)
An essay towards a real character and a philosophical language
(lays out a detailed categorization of reality accompanied by a universal languages based on this classification)
1669
John Webb
An Historical Essay Endeavoring a Probability That the Language of the Empire of China Is the Primitive Language
(proposes Chinese as the language spoken before the confusion of tongues at the Tower of Babel)
1726
Jonathan Swift
Travels into Several Remote Nations of the World, in Four Parts by Lemuel Gulliver
(Brobdingnagian, Laputan, and Houyhnhnm languages)
(Bottom) The Ban
For years, the subject of the origin of language AND the construction of universal languages was officially banned in academic circles. The 1866 constitution of the Société de linguistique de Paris bluntly stated...
[l]a Société n'admet aucune communication concernant, soit l'origine du langage, soit la création d'une langue universelle.
"The Society does not accept papers on either the origin of language or the creation of a universal language."
In 1872, the London Philological Society followed suit. Almost a century later, Noam Chomsky would echo this skepticism of research into the prehistory of language, and this would be enough to stifle this subject in academia for decades.
Luckily, the origin of language has now become a topic of serious academic research by noted linguists like Steven Pinker, Sue Savage-Rumbaugh, and Simon Kirby. The First Word by Christine Kenneally does a wonderful job of presenting the history of this debate and the current state of research.
In the realm of conlangs, the Internet has provided an unsurpassed opportunity for artificial languages to flourish. Entire web sites, forums, and listservs dedicated to (and written in) Esperanto, Klingon, and thousands of other personal and international languages are now commonplace online.
Lagss finally revealed is sapphire squares rhodonite pyramid spectrums ultimate ronelsa can wipe out king squirrel ghost existence he will no longer exists forever and lapis lazuli returns to normal states to marry ouka nagisa super robot wars original generation aqua centolm figure excellen browning seductive even more princesses wearing ribbed cropped tank top
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in 1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
What would become the largest airline in the world owes its existence to an insect: the boll weevil. In response to weevil infestations of Southern cotton fields, Collett Woolman proposed using aerial cropdusting. No one had ever tried aerial spraying before, and Woolman’s Huff Daland Dusters became the world’s first cropdusting company. Huff Daland began spraying from Macon, Georgia in May 1924; a year later, it moved to Louisiana.
Eventually, Woolman raised enough money to buy Huff Daland outright, and in anticipation of expanding into airmail and passenger operations, renamed it Delta Air Service in reference to the Mississippi Delta region it would be operating from. Delta rapidly expanded its routes throughout the South, but nearly went out of business when the US government awarded airmail routes through the South to American Airlines; when it was learned that American was involved in a bribery scandal, Delta was able to get the route instead, ensuring its survival. In 1941, Delta moved its headquarters to Atlanta, which had become the central hub of its operations.
Postwar, Delta began to expand once more. It acquired Chicago and Southern Airlines in 1953, which gave Delta its first boost: before 1953, its routes were limited to the US South and its primary aircraft were war-surplus Douglas DC-3s and DC-4s. Using Chicago and Southern’s Lockheed L-049 Constellations, Delta could now fly routes through the Caribbean and into Canada.
In 1959, Delta entered the jet age by purchasing Douglas DC-8s; to represent their new aircraft, Delta changed its livery to introduce the “widget”—a stylized Greek-alphabet delta, referencing the airline name and its new swept-wing jets. The widget remains Delta’s logo to the present day. The airline went transcontinental soon thereafter, and to boost traffic on this route, became one of the launch customers of the Convair 880. Though the airline could boast a flight time between Atlanta and Los Angeles of less than three hours in the sleek 880, the airliner’s reputation as a gas hog would not keep it in Delta’s fleet for long. The last of its DC-7s were sold in 1970, making the airline all-jet.
Delta had a near stranglehold on the Southern market and extensive contacts in the Midwest, but lacked any sort of presence in the West or Northeast, and, aside from its Caribbean connections, none overseas. The airline took steps to rectify that situation: in 1972, it bought out Northeast Airlines, giving it significant routes in the Boston-New York area. To boost its transcontinental routes, Delta bought its first wide-body aircraft, Boeing 747s, in 1970, but these proved to be unprofitable and were sold; instead, Delta took on Lockheed L-1011 Tristars, and would go on to become the world’s largest operator of the L-1011 and one of the longest. Finally, in 1978, Delta was able to acquire a European route from Atlanta to London using Tristars.
Delta weathered the deregulation period of the early 1980s carefully, concentrating on its domestic routes and continuing its expansion slowly, rather than overreaching—a trend that was to lead to the demise of many of its competitors. In 1987, Western, facing bankruptcy and unable to conclude a deal with Continental, was taken over by Delta, giving the latter its long-awaited network in the American West and Pacific Northwest. It also left Delta as the largest airline in the US and allowed Delta to expand into Latin America.
Delta also began its Delta Connection service in 1987, partnering with Comair, Skywest, and Atlantic Southeast, which remained independent companies but repainted its aircraft in Delta liveries. In 1991, Delta bought a controlling interest in Pan American, with the promises to keep the latter in business. However, it was more profitable for Delta to let the legendary airline die off and take over its transatlantic routes, and by 1992, Delta was now the largest American transatlantic carrier. With the acquisition of Pan Am’s fleet, it also allowed Delta to make inroads into the Asian market.
The post-9/11 recession and the week-long grounding of US airlines hit Delta particularly hard, losing so much money that not even a government bailout could do more than delay further losses. The airline dropped most of its Asian routes, consolidated its fleet by retiring the aging L-1011 fleet and selling MD-11s inherited from Western, moved some business from its regional hubs to Atlanta, and cut salaries. Delta still ended up filing bankruptcy in 2005. Nonetheless, the austerity measures worked. Delta was also able to save money by refurbishing its MD-80 fleet rather than replacing them—the MD-80s were cheaper to operate than many newer airliners—and sold off some of its Delta Connection airlines or absorbed them entirely. After fending off an attempt at a buyout by US Airways, Delta emerged from bankruptcy in 2007; in celebration, the airline introduced another livery (its third in seven years) that reintroduced the widget.
It would expand still further. In 2008, it was announced that Delta and Northwest Airlines would merge, with the latter being absorbed by Delta. With a combined fleet of nearly 800 aircraft, this made Delta the largest airline in the world by fleet size, and in the top five by passengers flown annually. Today, Delta retains this title, with a worldwide network to every continent, with 300 destinations.
N480DA is shown in Delta Shuttle markings, reflecting the airline's livery from 2001-2007. This was not a popular scheme, as it deleted the widget from the tail for a more plain blue and red scheme. Delta Shuttle used to be a solely New York-Boston four-times daily service, but it more recently has been expanded to Chicago, along with a San Francisco-Los Angeles flight. N480DA spent its entire service life with Delta, bought new in 1974 and retired in 1999 to be scrapped.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
A glimpse of the fabulous Kackar Mountain region of Northeast Turkey...
Photographed during a steep pass from one valley system to the other one, Çeymakçur valley...
Encountered a microclimate harboring a tremendous variety of Kackars flora...
A Türker Şengül Artwork (c)2005
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
You lived, But have you ever thought of the evidence for your life? You left nothing ,but better than the pains you give to the others...
By Moxkyr
"It's coexistence or no existence." ~ Bertrand Russell
Always interesting to watch so many different species of wildlife coexisting...sizing each other up....maintaining their defenses and being ever cautious of what the others agenda may be. After chasing off three bull moose near Pebble Creek, this grizzly ambled along the valley, stopping periodically to check out this bison that was grazing nearby. At first glance, it doesn't appear like the bison is even paying much attention to the griz, but if you look closely, you can tell that he is keeping a weary eye on him.
Another hot one today, with temps reaching 106; that's 8 days in a row....and to think we complained about the snow and cooler temps during our visit out west...LOL!!!! Have a great Friday, and thanks for all your visits and kind words :-)
© Darlene Bushue - All of my images are protected by copyright and may not be used on any site, blog, or forum without my permission.
"She softened gradually, melting in the light of the sun, all the while thinking, O, this is what it's like to be a planet & suddenly it was over & the universe expanded by one." quote by storypeople
Extraterrestrial life is defined as life which does not originate from planet Earth. The existence of life outside the planet is theoretical and all assertions of such life remain disputed.
Hypotheses regarding the origin(s) of extraterrestrial life, if it exists, are as follows: one proposes that it may have emerged, independently, from different places in the universe.
An alternative hypothesis is panspermia, which holds that life emerges from one location, then spreads between habitable planets.
These two hypotheses are not mutually exclusive. The study and theorization of extraterrestrial life is known as astrobiology, exobiology or xenobiology. Speculated forms of extraterrestrial life range from life at the scale of bacteria to sapient or sentient beings.
Suggested locations which might have once developed, or presently continue to host life similar to our own, include the planets Venus and Mars, moons of Jupiter and Saturn (e.g. Europa, Enceladus and Titan) and Gliese 581 c and d, recently discovered to be near Earth-mass extrasolar planets apparently located in their star's habitable zone, and with the potential to have liquid water.
To date, no credible evidence of extraterrestrial life has been discovered which has been generally accepted by the mainstream scientific community.
All other proposals, including beliefs that some UFOs are of extraterrestrial origin (see extraterrestrial hypothesis) and claims of alien abduction, are considered hypothetical by most scientists. In 2006, New Scientist published a list of ten controversial pieces of evidence that extraterrestrial life exists, but scientists do not consider them credible since no direct observational evidence has been encountered.
Neuchâtel, Rue de l'écluse, 1976. Line 3 (motor car 72 from the early 1920s) climbs the steep gradient in its last weeks of existence. Trailers were put aside between morning and lunchtime peak hours
2019-01-29: H.E. Mr. Aziz Rabbah, Minister of Energy, Mines and Sustainable Development, Kingdom of Morocco addressing the audience during the conference of CIF's 10 year of existence in Ouarzazate, Morocco.
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Although in existence during earlier centuries, the "Marteau d'arme" was officially introduced as an offensive weapon by the mid 13th century. It was adopted by the infantry capable to inflict heavy damage to the armoured knights..
By the 15th century the marteau d'arme evolved in a weapon with a longer wooden handle whose metal end had a hatchet combined with a hook - "falcon's beak". These weapons were soon used by the cavalrymen, but with a shorter handle entirely made of metal until they were abandoned in the 16th centurywhen they were replaced by pistols.
In Eastern Europe the marteau d'arme was used for much longer, then in Central and Western Europe, as pistols were more expensive and rarer to come by.
This explains why the marteau remained popular for much longer in Ukraine, Poland, Moldavia, Hungary and preserved an undomitable "white arm" for highwaymen.
By the end of the 18th century, beginning of the 19th century, the marteau d''arme remained a symbol of power and social rank among aristocracy.
There are some beautiful examples of period engravings, soon after the Napoleonic wars, when Hungarian noblemen were displaying marteau d'armes as fashionable acoutrements, in the manner in which their English counterparts would use walking sticks.. During uncertain times such 'elegant" objects would always come in useful as defence weapons in case one was aggressed. the look of it was enough to inhibit any potential attacker who might be hammered and hacked to pieces.
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Arme de guerre dérivée de l'outil du même nom. Le marteau de guerre se composait d'un manche de bois terminé par une tête en plomb ou en fer et souvent munie d'une pointe dans le prolongement du manche. Bien que de telles armes furent certainement utilisées bien avant, le marteau d'arme semble avoir été admis dans les armées vers le milieu du XIIIe siècle. C'était une arme très lourdes, utilisée par les fantassins, capables de provoquer de gros dégâts et qui accélérât sans doute l'usage des armures de plates complètes. Au XVe siècle, le manche devient plus allonge et la partie métallique s'enrichit souvent d'une hache ou d'une pointe latérale(bec de faucon). A la même époque, apparaît un marteau plus court porté par les cavaliers et parfois entièrement fait de fer (cf. image). Ces marteaux furent en usage jusqu'au XVIe siècle dans la cavalerie avant d'être abandonnés au profit du pistolet.
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NOTE on the ORIGIN of the HUTZUL People:
The Hutsul (Romanian - Huţul) are mountain peoples with occupations in cattle breeding, and shepherding, forestry, and timber, who live in the upper reaches of the river Prut, in Pokutia (Romanian - Pocuţia). The origin of the Hutsul has been suggested to be one of the migrating peoples - Cuman, Scythian, Celtic, Gothic, Dacian, Romanian etc. However, they speak a dialect of Ukrainian and are generally thought to be Slavic, but have many Romanian influences in their language, costume and customs,
In the 9th century the political unity of the Ukraine was formed around the Poianian tribe of the Kiev region. Most of the original tribal names are only left as geographical and territorial names but in the mountainous Carpathians some diversity and traces of the old tribal characteristics have been preserved in the Slavic peoples of the Hutsul, Lemko and Boiko peoples.
The first references to the Hutsul are in the 14th century in current southern Ukraine. During the 15th century they colonised along the Prut river, over the mountains and along the Tisa river into Maramureş, and along the Ceremuş river towards northern Moldavia. In the 17th century they migrated across the mountains to the upper Suceava valley. By the late 17th century there were around 40 villages and further migration continued into the upper valleys of the Moldova and Bistriţa rivers.
Object: Heine Memorial
Location: Taunusanlage
District: Downtown
Artist: Kolbe, Georg (1877 - 1947)
Material: Bronze
Origin: 1910 - 1913
Installation: on December 13, 1913, on the occasion of the 116th birthday of Heine. Restored in 1947 and set up on the occasion of his 150th birthday on 14 December 1947 at its present location.
In the Taunusanlage, not far from the Beethoven monument, there is the Heinrich Heine monument. Its existence it owes an initiative of the Frankfurt theater director Emil Claar. Donated by admirers of the poet, writer and dedicated journalists, the monument was erected to his birthday on December 13, 1913 after several years of confrontations between liberals and anti-Semites in the Friedberger Anlage. Thus, they succeeded in Frankfurt with something that failed in Hamburg and Düsseldorf. The sculptor Georg Kolbe had won the competion that was tendered in 1910 and created a monument that is not based on the physiognomy of Heine but that is to embody his poetry. Kolbe positioned two large, dynamically moving bronze figures on a pedestal. A naked youth with far stepping out, dance pose. And at his feet sitting a woman, her head turning away proudly. Kolbe gave the pair an elegant lightness that is comparable with Heine's artistic work. Kolbe is said that performances of the Russian ballet dancers Vaslav Nijinsky (1889-1950) and Tamara Karsavina (1885-1878) gave him the inspiration for his realization. The base was furthermore decorated with a medallion of Heine's portrait. Beneath could be read: "TO THE POET HEINE".
On April 10, 1933, the Hessian State President urged the provisional Frankfurt head mayor: "Eliminate, please, the Heine monument, against its creation in Frankfurt I fought in stormy meetings twenty years ago in vain". On the night to April 27, 1933, the monument was overthrown by Nazi sympathizers from the base. Subsequently, it was officially removed.
The figures stood during a long time in a discreet corner in the garden of the Städel under the name of "Spring Song". It was not a secret resistance of the museum. The plastic of Georg Kolbe corresponded completely with Nazi artistic taste. The Nazi power had only wished the elimination of the public honor. Bombing buried the work which, however, miraculously remained undamaged.
On December 13, 1947, on the occasion of the 150th anniversary of Heine, the city of Frankfurt had set up the in 1933 defiled monument at a new location in the Taunusanlage. In a celebration hour Mayor Walter Piston (1902-1956) reminded on the history of the monument and said that the monument has obtained a new location: "Between the English-American control authority and the buildings of the bizonal Economic Council." It symbolizes "the spirit of German democracy and invokes international understanding". Shortly before his death Georg Kolbe has created a new portrait bronze plaque for the monument. Today, it is attached to the new socket and bears the words "Heinrich Heine". See Jewish monuments -. Frankfurt, jd-f.de/web/
Objekt: Heine-Denkmal
Standort: Taunusanlage
Stadtteil: Innenstadt
Künstler: Kolbe, Georg (1877 - 1947)
Material: Bronze
Entstehung: 1910 - 1913
Aufstellung: Am 13. Dezember 1913 zu Heines 116. Geburtstag aufgestellt. 1947 restauriert und zu seinem 150. Geburtstag am 14. Dezember 1947 an seinem heutigen Platz aufgestellt.
In der Taunusanlage, unweit des Beethoven-Denkmals, befindet sich das Heinrich Heine-Denkmal. Seine Existenz verdankt es einer Initiative des Frankfurter Theaterintendanten Emil Claar. Gestiftet von Verehrern des Dichters, Schriftstellers und engagierten Journalisten, wurde das Denkmal zu seinem Geburtstag am 13.12.1913 nach mehrjährigen Auseinandersetzungen zwischen Liberalen und Antisemiten in der Friedberger Anlage aufgestellt. Damit gelang in Frankfurt was in Hamburg und Düsseldorf scheiterte. Der Bildhauer Georg Kolbe hatte den 1910 ausgeschriebenen Wettbewerb gewonnen und ein Denkmal geschaffen, das sich nicht an der Physiognomie Heines orientiert, sondern das seine Poesie verkörpern soll. Kolbe positionierte zwei große, dynamisch bewegte Bronzefiguren auf einem Sockel. Einen nackten Jüngling mit weit ausschreitender, tänzerischer Pose. Und zu seinen Füssen sitzend eine Frau, den Kopf stolz abgewendet. Kolbe verlieh dem Paar eine mit Heines Schaffen vergleichbare elegante Leichtigkeit. Auftritte der russischen Balletttänzer Vaslav Nijinsky (1889-1950) und Tamara Karsavina (1885-1878) sollen Kolbe zu seiner Ausführung inspiriert haben. Der Sockel war zudem mit einem Medaillon von Heines Porträt verziert. Darunter stand zu lesen: "DEM DICHTER HEINE".
Am 10. April 1933 forderte der hessische Staatspräsident Frankfurts kommissarischen Oberbürgermeister auf: "Beseitigen Sie, bitte, das Heine-Denkmal, gegen dessen Frankfurter Erstellung ich in stürmischen Versammlungen vor zwanzig Jahren vergebens kämpfte". In der Nacht zum 27. April 1933 wurde das Denkmal durch NS-Sympathisanten vom Sockel gestürzt. Anschließend wurde es offiziell entfernt.
Die Figuren standen lange Zeit in einer verschwiegenen Ecke im Garten des Städels unter der Bezeichnung "Frühlingslied". Es war kein heimlicher Widerstand des Museums. Die Plastik Georg Kolbes entsprach durchaus nationalsozialistischem Kunstgeschmack. Die Nazimacht hatte nur die Beseitigung der öffentlichen Ehrung gewünscht. Bombenangriffe verschütteten das Werk, das jedoch auf wundersame Weise unbeschädigt blieb.
Am 13. Dezember 1947, anlässlich des 150. Geburtstages Heines lässt die Stadt Frankfurt am Main das 1933 geschändete Denkmal an einem neuen Standort in der Taunusanlage aufstellen. In einer Feierstunde erinnerte Oberbürgermeister Walter Kolb (1902-1956) an die Geschichte des Denkmals und sagte, dass das Denkmal einen neuen Standort erhalten hat: "Zwischen der englisch - amerikanischen Kontrollbehörde und den Gebäuden des bizonalen Wirtschaftsrates." Es symbolisiere "den Geist deutscher Demokratie und beschwöre internationaler Verständigung". Noch kurz vor seinem Tode hat Georg Kolbe eine neue Bildnisbronzeplakette für das Denkmal geschaffen. Sie ist heute am neuen Sockel befestigt und trägt die Worte "HEINRICH HEINE". Vgl. Jüdische Denkmäler - Frankfurt, jd-f.de/web/
www.kunst-im-oeffentlichen-raum-frankfurt.de/de/page151.h...
During a circumnavigation of a mesa next to Negro Bill Canyon I encountered this sandstone boulder. Upon seeing the aura antennae atop the rock, I realized that it was a psychic transmitter. Feeling a bit tired from my wanderings among the bedrock, bushes, and blaring Sun, I paused to take advantage of this wondrous facility.
Desiring to give my motivation a boost, I proceeded to make body contact with the rock. By maintaining the pictured posture for 7.1 hours without moving, I reached a Higher Plane of Existence. The result is that I began to understand why the ingredients of shampoo have such weird names. Infused with this new awareness, my spirit was uplifted and I continued my exploration with renewed enthusiasm.
Joe Tripod, who helped me make this picture, isn't psychic but he meditates in stillness to hold my camera.
Geotagging is approximate, as psychic transmitters play havoc with Internet mapping routines and GPS devices.
From above and across the canyon, one has a different view of this boulder.
What would become the largest airline in the world owes its existence to an insect: the boll weevil. In response to weevil infestations of Southern cotton fields, Collett Woolman proposed using aerial cropdusting. No one had ever tried aerial spraying before, and Woolman’s Huff Daland Dusters became the world’s first cropdusting company. Huff Daland began spraying from Macon, Georgia in May 1924; a year later, it moved to Louisiana.
Eventually, Woolman raised enough money to buy Huff Daland outright, and in anticipation of expanding into airmail and passenger operations, renamed it Delta Air Service in reference to the Mississippi Delta region it would be operating from. Delta rapidly expanded its routes throughout the South, but nearly went out of business when the US government awarded airmail routes through the South to American Airlines; when it was learned that American was involved in a bribery scandal, Delta was able to get the route instead, ensuring its survival. In 1941, Delta moved its headquarters to Atlanta, which had become the central hub of its operations.
Postwar, Delta began to expand once more. It acquired Chicago and Southern Airlines in 1953, which gave Delta its first boost: before 1953, its routes were limited to the US South and its primary aircraft were war-surplus Douglas DC-3s and DC-4s. Using Chicago and Southern’s Lockheed L-049 Constellations, Delta could now fly routes through the Caribbean and into Canada.
In 1959, Delta entered the jet age by purchasing Douglas DC-8s; to represent their new aircraft, Delta changed its livery to introduce the “widget”—a stylized Greek-alphabet delta, referencing the airline name and its new swept-wing jets. The widget remains Delta’s logo to the present day. The airline went transcontinental soon thereafter, and to boost traffic on this route, became one of the launch customers of the Convair 880. Though the airline could boast a flight time between Atlanta and Los Angeles of less than three hours in the sleek 880, the airliner’s reputation as a gas hog would not keep it in Delta’s fleet for long. The last of its DC-7s were sold in 1970, making the airline all-jet.
Delta had a near stranglehold on the Southern market and extensive contacts in the Midwest, but lacked any sort of presence in the West or Northeast, and, aside from its Caribbean connections, none overseas. The airline took steps to rectify that situation: in 1972, it bought out Northeast Airlines, giving it significant routes in the Boston-New York area. To boost its transcontinental routes, Delta bought its first wide-body aircraft, Boeing 747s, in 1970, but these proved to be unprofitable and were sold; instead, Delta took on Lockheed L-1011 Tristars, and would go on to become the world’s largest operator of the L-1011 and one of the longest. Finally, in 1978, Delta was able to acquire a European route from Atlanta to London using Tristars.
Delta weathered the deregulation period of the early 1980s carefully, concentrating on its domestic routes and continuing its expansion slowly, rather than overreaching—a trend that was to lead to the demise of many of its competitors. In 1987, Western, facing bankruptcy and unable to conclude a deal with Continental, was taken over by Delta, giving the latter its long-awaited network in the American West and Pacific Northwest. It also left Delta as the largest airline in the US and allowed Delta to expand into Latin America.
Delta also began its Delta Connection service in 1987, partnering with Comair, Skywest, and Atlantic Southeast, which remained independent companies but repainted its aircraft in Delta liveries. In 1991, Delta bought a controlling interest in Pan American, with the promises to keep the latter in business. However, it was more profitable for Delta to let the legendary airline die off and take over its transatlantic routes, and by 1992, Delta was now the largest American transatlantic carrier. With the acquisition of Pan Am’s fleet, it also allowed Delta to make inroads into the Asian market.
The post-9/11 recession and the week-long grounding of US airlines hit Delta particularly hard, losing so much money that not even a government bailout could do more than delay further losses. The airline dropped most of its Asian routes, consolidated its fleet by retiring the aging L-1011 fleet and selling MD-11s inherited from Western, moved some business from its regional hubs to Atlanta, and cut salaries. Delta still ended up filing bankruptcy in 2005. Nonetheless, the austerity measures worked. Delta was also able to save money by refurbishing its MD-80 fleet rather than replacing them—the MD-80s were cheaper to operate than many newer airliners—and sold off some of its Delta Connection airlines or absorbed them entirely. After fending off an attempt at a buyout by US Airways, Delta emerged from bankruptcy in 2007; in celebration, the airline introduced another livery (its third in seven years) that reintroduced the widget.
It would expand still further. In 2008, it was announced that Delta and Northwest Airlines would merge, with the latter being absorbed by Delta. With a combined fleet of nearly 800 aircraft, this made Delta the largest airline in the world by fleet size, and in the top five by passengers flown annually. Today, Delta retains this title, with a worldwide network to every continent, with 300 destinations.
This 737-800, N394DA, was delivered to Delta in 2000 and remains with the airline today. It is shown in Delta's 2001-2007 livery that introduced a flag motif on the tail rather than the iconic widget.
Thought of experimenting with something and this was the closest best option available. An unedited shot. Little cropping and tone enhancements!